Ungraceful God: Masculinity and Images of God in Brazilian Popular Culture

Abstract

The article investigates how God is represented in popular culture, especially in music, in Brazil. It gives a general background about Brazilian culture showing how religion is part of the identity constructions of Brazilian people and how it is marked by multiplicity, syncretism and hybridization. It then analyses two popular songs that make explicit statements about "who God is" and how those statements are related to traditional masculine gender constructions. Finally, the article discusses how issues of masculinity and religion have been approached in recent scholarship and points to the need for other ways of imagining God that are related to people's experience.     

Book reviews

Books reviewed:
Dale Mathers, An Introduction to Meaning and Purpose in Analytical Psychology
Jane Cabot Reid (ed. & narrator), Jung, My Mother, and I: The Analytic Diaries of Catharine Rush Cabot
Heather Formaini (compiler), Landmarks. Papers by Jungian Analysts from Australia and New Zealand
Neil Russack, Animal Guides in Life, Myth and Dreams: An Analyst's Notebook
Rose–Emily Rothenberg, The Jewel in the Wound
Judith Edwards (ed.), Being Alive, Building on the Work of Anne Alvarez     

Rough‐and‐tumble play in human children

Rough and tumble (R&T) play is a unique set of behaviors that can be reliably distinguished from aggression and other childhood activities. Although it may be the most fundamental form of play, it has received comparatively little experimental attention in the human species. Forty children, ages three to six, were allowed to play in pairs (10 male pairs, 10 female pairs) during a 30 minute videotaped session with no toys available while music played in the background during every other five‐minute time period. The incidence frequency of children's play and related behavioral activities were scored using 20 behavioral categories. The major findings show only modest gender differences in the frequency of play behaviors in such controlled social encounters; the main difference is that boys engaged in slightly more physical play solicitations than girls. Music facilitated General Motor Activities (e.g., Running and Walking behaviors), but not specific R&T play actions (e.g., Wrestling, Ventral and Dorsal contacts). Finally, most play behaviors as well as general activities declined systematically over the course of each recording session. This experiment highlights how human social play can be systematically studied in a controlled laboratory setting. Aggr. Behav. 29:539–551, 2003. © 2003 Wiley‐Liss, Inc.     

The Therapeutic Community Sing: Music Therapy Inpatient Group Process

Early psychoanalytic authors and music educators in both Europe and the United States pointed to the contemporary use of music therapy as a powerful modality in an inpatient psychiatric unit. The inpatient community sing is discussed in its capacity to address both individual and group goals. A clinical vignette from such a group is presented and discussed.     

过去经验对内隐社会知觉的影响

通过选择不同年代的大学生被试以及不同年代的浒词材料对“经验”变量进行了实验操作;同时,采用“意识过滤技术”一速示辨认测验对内隐社会知觉的特点进行了考察;结果发现,实验材料双字词原笔划数,被试的性别对内隐社会知觉没有影响,而经验对内 有显著的影响,此外,还证明示测验作为间接测量方法是比较“纯净”的,没有受到意识的“污染”。     

Audience gaze while appreciating a multipart musical performance

Visual information has been observed to be crucial for audience members during musical performances. The present study used an eye tracker to investigate audience members’ gazes while appreciating an audiovisual musical ensemble performance, based on evidence of the dominance of musical part in auditory attention when listening to multipart music that contains different melody lines and the joint-attention theory of gaze. We presented singing performances, by a female duo. The main findings were as follows: (1) the melody part (soprano) attracted more visual attention than the accompaniment part (alto) throughout the piece, (2) joint attention emerged when the singers shifted their gazes toward their co-performer, suggesting that inter-performer gazing interactions that play a spotlight role mediated performer-audience visual interaction, and (3) musical part (melody or accompaniment) strongly influenced the total duration of gazes among audiences, while the spotlight effect of gaze was limited to just after the singers’ gaze shifts.     

Transforming school ensemble instruction through spiritually informed teaching practices

The transformative experiences that could be central to learning are curiously absent from American school music education. Students are motivated through competition and the goal of most programmes is flawless large ensemble performance. This paper describes a music programme in which the daily instructional practices have been modified and influenced by an outreach programme in which the students taught socially and economically challenged children of similar age. This programme was developed by a teacher with a deep sense of faith. His spiritually informed teaching practices emphasise the same principles of social justice espoused by secular educational philosophers. Parallels between spiritual and educational philosophies and a discussion of the transformations experienced by students conclude the paper.     

Download or stream? Steal or buy? Developing a typology of today's music consumer

This paper explores the impact that recent transformations in digital music technology (e.g. the increasing popularity of legal streaming platforms) have had on the consumer experience. Following 35 in‐depth qualitative interviews, we have identified four key segments of contemporary music consumers (steadfast pirates, ex‐downloaders, mixed tapes and the old schoolers [the disengaged]) based on a continuum of their preference for illegal music piracy. Examining key themes (e.g. morality, format, value and identity investment) to distinguish each segment, we contribute to a fragmented music piracy literature in particular through the identification of the “ex‐downloaders” and “mixed tape” segments. Previous literature has tended to frame music piracy in very simplistic terms, failing to acknowledge a large number of consumers who are conflicted about their actions and rationalise their piracy in complicated and inconsistent ways related to the broader industry and their own sense of identity as a music consumer. Additionally, the discussion of the ex‐downloader segment provides significant evidence that for a large number of consumers, a policy of participation, in the shape of providing superior alternatives for legal digital music consumption, can be much more beneficial in tackling the problem of piracy than previous strategies of policing and coercion. Managerial and future research implications are discussed. Copyright © 2015 John Wiley & Sons, Ltd.     

When I grow down – music,spirituality and memory loss: A performative lecture on aging

This article uses a postmodern methodology to set out a model of life which consists of a time of growing up and learning to speak, and of growing down when the power of speech and cognition gradually disintegrates. It describes how this was presented at a conference partly by means of drama (including movement and music) at the beginning and ending of a lecture which was designed to show the important role of music at the beginning and end of life. The centre of the presentation sets out the research into the role of music in personhood, wellbeing and health. It examines the role of music in connectedness, community and identity. There is much evidence for the relationship between music and health which is leading to the possibility of doctors prescribing music. The growth of community choirs has seen the growth of a musical aesthetic which values wellbeing highly. A phenomenography of the musical experience clarifies the relationship between music and wellbeing and the potentially transformative effects of the liminal space created by the four domains of musicking – Materials, Expression, Construction and Values. It also sets out a way of presenting research that engages the mind, body, emotions and spirituality of the audience.